London Philharmonic Orchestra 15 Mar 2017 concert programme by London Philharmonic Orchestra

Concert programme lpo.org.uk

Our 2017 concerts are part of

Principal Conductor and Artistic Advisor VLADIMIR JUROWSKI supported by the Tsukanov Family Foundation Principal Guest Conductor ANDRÉS OROZCO-ESTRADA Leader pieter schoeman supported by Neil Westreich Composer in Residence magnus lindberg Patron HRH THE DUKE OF KENT KG Chief Executive and Artistic Director TIMOTHY WALKER AM

Southbank Centre’s Royal Festival Hall Wednesday 15 March 2017 | 7.30pm

Gavin Bryars The Sinking of the Titanic (25’) Gavin Bryars Jesus’ Blood Never Failed Me Yet (25’) Interval (20’) Steve Reich Music for 18 Musicians (58’)

Members of the London Philharmonic Orchestra Synergy Vocals Sound Intermedia Micaela Haslam musical direction

Free pre-concert event 6.15–6.45pm | Royal Festival Hall British composer Gavin Bryars discusses two of his best known works, and his career to date.

The timings shown are not precise and are given only as a guide. CONCERT PRESENTED BY THE LONDON PHILHARMONIC ORCHESTRA

Contents 2 Welcome Orchestra news 3 On stage tonight 4 Belief and Beyond Belief 6 About the Orchestra 7 Leader: Vesselin Gellev 8 Synergy Vocals 9 Micaela Haslam Sound Intermedia 10 Programme notes 13 Recommended recordings 14 Next concerts 15 New on the LPO Label 16 LPO 2017/18 season 17 Sound Futures donors 18 Supporters 20 LPO administration

Welcome

Welcome to Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Feng Sushi and Topolski, as well as cafes, restaurants and shops inside Royal Festival Hall. If you wish to get in touch with us following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250, or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Queen Elizabeth Hall, Purcell Room and Hayward Gallery are closed for essential refurbishment until 2018. During this period, our resident orchestras are performing in venues including St John's Smith Square. Find out more at southbankcentre.co.uk/sjss A few points to note for your comfort and enjoyment: PHOTOGRAPHY is not allowed in the auditorium. LATECOMERS will only be admitted to the auditorium if there is a suitable break in the performance. RECORDING is not permitted in the auditorium without the prior consent of Southbank Centre. Southbank Centre reserves the right to confiscate video or sound equipment and hold it in safekeeping until the performance has ended. MOBILES, PAGERS AND WATCHES should be switched off before the performance begins.

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Orchestra news

2017/18 LPO season The 2017/18 LPO season is now on sale! Browse and book online at lpo.org.uk or call 020 7840 4200 to request a season brochure by post. You can also book via the LPO Box Office by phone on 020 7840 4242.

2017 London Marathon: Support Team LPO! On Sunday 23 April 2017 a team from the wider LPO community will take part in the Virgin Money London Marathon in aid of the Orchestra’s schools concerts, BrightSparks. All money raised will help to enable over 12,000 young people to attend one of our live schools concerts, many for the very first time. On Monday 27 March we will be holding a Marathon fundraising event at the Virgin Money Lounge in London’s Haymarket featuring interesting insights from the Orchestra’s players (and runners!), music, wine and canapés. Tickets are priced at £30. To find out more or book tickets, visit virg.in/LPO If you can’t make the event but would like to find out more about our runners or make a donation, visit uk.virginmoneygiving.com/fund/LPOLondonMarathon

New on the LPO Label: Dvořák Recently released on the LPO Label (LPO-0095) is a disc of works by Dvořák: the Othello Overture and Symphonies Nos. 6 & 7. Conducted by Yannick NézetSéguin and recorded live in concert at Royal Festival Hall, the double CD is priced at £10.99 and is available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets. Download or stream online via iTunes, Spotify, Amazon and others. See page 15 for more details.

Glyndebourne 2017 Booking is now open for the 2017 Glyndebourne Festival, which begins on 20 May. This summer the London Philharmonic Orchestra, Glyndebourne's Resident Symphony Orchestra, will perform Verdi’s La traviata conducted by Richard Farnes and Andrés Orozco-Estrada; the world premiere performances of Brett Dean’s Hamlet conducted by Vladimir Jurowski; Strauss’s Ariadne auf Naxos under Cornelius Meister; and Donizetti’s Don Pasquale under Giacomo Sagripanti. To book, call the Glyndebourne Box Office on 01273 815000 or visit glyndebourne.com

London Philharmonic Orchestra: on stage tonight

Gavin Bryars The Sinking of the Titanic | Jesus’ Blood Never Failed Me Yet

First Violins Vesselin Gellev Leader Ilyoung Chae Chair supported by the Candide Trust

Katalin Varnagy Chair supported by Sonja Drexler

Double Basses Sebastian Pennar Principal George Peniston Laurence Lovelle

Sarah Streatfeild

Oboe Ian Hardwick* Principal

Second Violins Helena Smart Guest Principal Kate Birchall Nancy Elan Nynke Hijlkema

Clarinets Thomas Watmough Principal Paul Richards

Violas Gregory Aronovich Principal Susanne Martens Benedetto Pollani Laura Vallejo Cellos Kristina Blaumane Principal Chair supported by Bianca & Stuart Roden

Pei-Jee Ng Co-Principal Francis Bucknall Elisabeth Wiklander

Bassoon Emma Harding Guest Principal Contrabassoon Iona Garvie Horns Stephen Nicholls Guest Principal Martin Hobbs Jonathan Quaintrell-Evans Gareth Mollison

Steve Reich Music for 18 Musicians

Trombone David Whitehouse Principal

Violin Vesselin Gellev

Bass Trombone Lyndon Meredith Principal

Clarinets/Bass Clarinets Thomas Watmough Paul Richards

Tuba Lee Tsarmaklis* Principal Percussion Andrew Barclay* Principal Chair supported by Andrew Davenport

Henry Baldwin Co-Principal Simon Carrington* Piano Catherine Edwards Synthesizer John Alley

Cello Kristina Blaumane

Percussion Andrew Barclay Henry Baldwin Simon Carrington Sam Walton Sarah Mason Tom Edwards Pianos Catherine Edwards Clive Williamson John Alley Antoine Francoise

* Holds a professorial appointment in London Meet our members: lpo.org.uk/players

Chair supported by Drs Oliver & Asha Foster

The London Philharmonic Orchestra also acknowledges the following chair supporters whose players are not present at this concert: Molly & David Borthwick • David & Yi Buckley • William & Alex de Winton • Friends of the Orchestra • Dr Barry Grimaldi • Geoff & Meg Mann • Sir Simon Robey • Victoria Robey OBE • Caroline, Jamie & Zander Sharp • Eric Tomsett • Laurence Watt • Neil Westreich

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Belief and Beyond Belief An overview of 2017’s year-long festival, by Richard Bratby

Roman Catholic) it seems profoundly strange. But this is what Mozart thought, what he felt: what he believed. And his music speaks to us. There’s something irreducible there. As Theodor Adorno once put it, ‘When I hear great music, I believe that I know that what this music said cannot be untrue.’

n a glass case at Mozart’s birthplace in Salzburg is a little wax doll. Its eyes look demurely downwards, it wears a crown four times the size of its head and it’s clad in what looks like an embroidered ballgown. This is the Loreto-Kindl (Loreto Child): a replica of an ivory model of the infant Christ housed in Salzburg’s Loreto Church. Believed to have miraculous properties, it was (and is) an object of pilgrimage. The Mozart family revered it. When, in Paris in 1764, the eight-year old Wolfgang fell sick, his father Leopold sent money back to Salzburg for a Mass to be said at the shrine of the Child. What are we to think of that today? When we hear the procession that opens Mozart’s Requiem and find our emotions responding to those sighing woodwinds, are we somehow feeling and reacting to the same impulse that once prompted Mozart to kneel before a wax doll? It’s a curious thing, the Loreto Child, and oddly touching. To 21st-century minds (and particularly if you’re not

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Which is why music has a central role – arguably the central role – in Southbank Centre’s year-long 2017 festival Belief and Beyond Belief: a cross-artform investigation of the great questions surrounding our experiences of life, death, religion and spirituality, and the role of religious belief in all its forms in the 21st century. Music, after all, is capable of articulating feelings and ideas that lie beyond words. That gives it a unique scope when dealing with a subject this vast, and this intangible. Belief, says LPO Principal Conductor and Artistic Advisor Vladimir Jurowski, is ‘probably the most all-encompassing theme we could find.’ ‘We were looking for something that would concern all people in all times. And of course you can’t help but come to all those basic questions of life and death: why are we here, what is the purpose of human existence?’ These are questions that – while central to the world’s major religions – are also of urgent importance to those who don’t follow any one specific faith. ‘Spirituality, obviously, is not only about organised religion and faith. It’s about the intangible matters, the non-corporeal realm of human existence’ says Jurowski. ‘As the Dalai Lama put it recently, we can all exist without religion – but we cannot exist without spirituality.’ No question, though: Western classical music’s centuries-old relationship with organised JudeoChristian religion offers a magnificent starting point. Mozart’s Requiem forms part of the series [performed by the London Philharmonic Orchestra and Choir on 25 March], as does Tallis’s Spem in Alium [8 April] and Haydn’s life-affirming oratorio The Creation [4 February] – expressions of belief, grounded in the certainties of a pre-Darwin age. In each of these masterpieces, contemplation of the divine actually intensifies the music’s humanity. Belief certainly enriches the experience of hearing these works today, but few would argue that they have nothing meaningful to say to an atheist or agnostic.

Still, as Jurowski explains, ‘I didn’t want us to limit ourselves to one period of time, one epoch. Working with a modern orchestra is like having a time machine at your disposal. You’re free to move in time and space within the duration of one concert.’ It’ll be thought-provoking but also enormous fun to travel in one evening [28 January] from the divinely ordered exuberance of Jean-Féry Rebel’s Les élémens (1737) to Milhaud’s La Création du monde (1923) and John Adams’s Harmonielehre (1985) – works that don’t so much celebrate an established universal order, as grab what they can find to hand and try to throw together a new one. It’s hard to feel that Also sprach Zarathustra – Richard Strauss’s explicitly post-Christian orchestral romp through Nietzsche [10 February] – sees the death of God as anything but a liberation. Wagner’s Parsifal [28 April; Act III excerpts], however, can be an altogether more troubling experience, as well as a transcendent one. And then there are the works that, in the sunset years of Western civilisation’s spiritual consensus, erect massive ramparts against the abyss. Gustav Mahler – a Jewish convert to Catholicism, and the first great composer to undergo analysis with Sigmund Freud – throws gigantic forces and every last ounce of creative muscle into his Eighth Symphony [8 April]. But what of Bruckner’s Ninth [22 March], designed by an unshakably devout composer as a final act of homage and praise ‘to my beloved God’? As his health failed, Bruckner prayed daily to be allowed time and strength to finish the Symphony. Neither was granted. And during the 20th century, art and belief have both tended to throw open questions rather than assert answers. Confronted with atrocities such as that commemorated in Martinů’s Memorial to Lidice [25 January], the silence that Charles Ives called The Unanswered Question [11 February] may be the only appropriate response. Yet even in atheist dictatorships, composers continued to seek meaning. ‘Shostakovich was never a believer’ says Jurowski. ‘He was afraid of death. He was convinced that with the end of human existence the human spirit also ceases to exist’. Somehow, though, in his fifteenth (and final) symphony [22 February] ‘he finds space in there for very loving music […] You are exposed to someone who has a thing or two to teach us about life.’ Edison Denisov’s Second Symphony [also 22 February], written during its composer’s terminal cancer, is even more

uncompromising. ‘He finds no consolation at the end of his journey. It was obviously an act of defiance.’ In a godless world, the very act of asserting religious belief becomes a radical act. In 1966, Krzysztof Penderecki’s Bach-inspired St Luke Passion [4 March] outraged Western modernists almost as much as it offended the authorities in communist Poland. The composer made its significance explicit: ‘The Passion is the suffering and death of Christ, but it is also the suffering and death at Auschwitz, the tragic experience of mankind in the middle of the 20th century’. Penderecki is as devoutly Roman Catholic as Mozart, but the St Luke Passion is designed for all listeners. Religion helps it tell its truths; but those truths are comprehensible even without belief. It’s why Jurowski has chosen to open Belief and Beyond Belief tonight not with a sacred work, but a semi-staged opera: a story of tyranny, freedom, courage and – supremely – human love: Beethoven’s Fidelio. ‘Fidelio celebrates what the German-Jewish philosopher Ernst Bloch called “The Principle of Hope” – one of the cornerstones of the human spiritual existence’, says Jurowski. ‘Hope is what makes us human, what gives life meaning; hope – when lived actively – has the power to change the world. Fidelio connects and mediates between the religious and humanist approach to life, and thus appears to me to be a perfect start for a celebration of spirituality and the human spirit.’ If there’s any one motto for this whole, intensely rich and complex journey into music and belief, ‘Hope’ would probably be it. ‘We’re not going to turn Southbank Centre into a place of worship’, says Jurowski. ‘We’re not going to turn the concert hall into a temple. We just want to look at all these different pieces of music by different composers, which are all concerned with the same questions’. In other words, to do what music lets us do more intensely than any other art form – explore different ways of simply being human. Richard Bratby writes about music for The Spectator, Gramophone and the Birmingham Post. Watch the interview with Vladimir and browse the full festival: lpo.org.uk/belief

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London Philharmonic Orchestra

Jurowski and the LPO, keyed up to a high level of concentration, delivered [John Adams’s Harmonielehre] with the shattering force of the Big Bang. Richard Fairman, Financial Times, 31 January 2017

Recognised today as one of the finest orchestras on the international stage, the London Philharmonic Orchestra balances a long and distinguished history with a reputation as one of the UK’s most forwardlooking ensembles. As well as its performances in the concert hall, the Orchestra also records film and video game soundtracks, releases CDs on its own record label, and reaches thousands of people every year through activities for families, schools and local communities. The Orchestra was founded by Sir Thomas Beecham in 1932. It has since been headed by many of the world’s greatest conductors including Sir Adrian Boult, Bernard Haitink, Sir Georg Solti, Klaus Tennstedt and Kurt Masur. Vladimir Jurowski is currently the Orchestra’s Principal Conductor and Artistic Advisor, appointed in 2007. Andrés Orozco-Estrada took up the position of Principal Guest Conductor in September 2015. Magnus Lindberg is the Orchestra’s current Composer in Residence. The Orchestra is resident at Southbank Centre’s Royal Festival Hall in London, where it gives around 40 concerts each season. Throughout 2016 the LPO joined many of the UK’s other leading cultural institutions in Shakespeare400, celebrating the Bard’s legacy 400

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years since his death. In 2017 we will collaborate with Southbank Centre on Belief and Beyond Belief: a year-long multi-artform festival. Other 2016/17 season highlights include the return of Osmo Vänskä to conduct the Sibelius symphonies alongside major British concertos by Britten, Elgar, Walton and Vaughan Williams; Jurowski’s continuation of his Mahler and Brucker symphony cycles; landmark contemporary works by Steve Reich, Philip Glass, John Adams and Gavin Bryars; and premieres of new works by Aaron Jay Kernis and the Orchestra’s Composer in Residence Magnus Lindberg. Outside London, the Orchestra has flourishing residencies in Brighton and Eastbourne, and performs regularly around the UK. Each summer the Orchestra takes up its annual residency at Glyndebourne Festival Opera in the Sussex countryside, where it has been Resident Symphony Orchestra for over 50 years. The Orchestra also tours internationally, performing to sell-out audiences worldwide. In 1956 it became the first British orchestra to appear in Soviet Russia and in 1973 made the first ever visit to China by a Western orchestra. Touring remains a large part of the Orchestra’s life: last season included visits to Mexico,

Vesselin Gellev leader

The London Philharmonic Orchestra has recorded the soundtracks to numerous blockbuster films, from The Lord of the Rings trilogy to Lawrence of Arabia, East is East, The Hobbit: An Unexpected Journey and Thor: The Dark World. It also broadcasts regularly on television and radio, and in 2005 established its own record label. There are now over 90 releases available on CD and to download: recent additions include a disc of Stravinsky works with Vladimir Jurowski, Act 1 of Wagner’s Die Walküre with Klaus Tennstedt, and Beethoven’s Symphonies Nos. 1 and 4 with Kurt Masur. In summer 2012 the London Philharmonic Orchestra performed as part of The Queen’s Diamond Jubilee Pageant on the River Thames, and was also chosen to record all the world’s national anthems for the London 2012 Olympics. In 2013 it was the winner of the RPS Music Award for Ensemble. The London Philharmonic Orchestra is committed to inspiring the next generation of musicians through an energetic programme of activities for young people. Highlights include the BrightSparks schools’ concerts and FUNharmonics family concerts; the Young Composers Programme; and the Foyle Future Firsts orchestral training programme for outstanding young players. Its work at the forefront of digital engagement has enabled the Orchestra to reach even more people worldwide: all its recordings are available to download from iTunes and, as well as regular concert streamings and a popular podcast series, the Orchestra has a lively presence on social media.

Spain, Germany, the Canary Islands and Russia; and tours in 2016/17 include New York, Germany, Austria, Hungary, Spain, France, Belgium, The Netherlands and Switzerland.

Praised by the New York Times for his ‘warmth and virtuosic brilliance’, Bulgarian violinist Vesselin Gellev has been a featured soloist with the London Philharmonic Orchestra, Spoleto Festival Orchestra, New Haven Symphony Orchestra and Juilliard Orchestra, among others. He won First Prize at the Concert Artists Guild Competition in New York as a member of the Antares Quartet, and has recorded several albums and toured worldwide as Concertmaster of Kristjan Järvi’s Grammynominated Absolute Ensemble. Prior to joining the LPO as Sub-Leader in 2007, Vesselin was Leader of the New Haven Symphony Orchestra in the USA and the Spoleto Festival Orchestra in Italy. He has also performed as Guest Leader with numerous orchestras in the UK and abroad including the Royal Philharmonic Orchestra, Royal Scottish National Orchestra, BBC National Orchestra of Wales, Mahler Chamber Orchestra, MDR Leipzig Radio Symphony Orchestra, Stavanger Symphony Orchestra and Accademia Nazionale di Santa Cecilia. Vesselin received Bachelor and Master of Music degrees from The Juilliard School, New York, as a student of Robert Mann. He has served on the violin and chamber music faculties of Cornell University in Ithaca, NY and the Eleazar de Carvalho Music Festival in Fortaleza, Brazil.

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Synergy Vocals Joanna Forbes L’Estrange | Amanda Morrison | Heather Cairncross | Micaela Haslam

Synergy Vocals specialises in close-microphone singing and has developed a close relationship with Steve Reich over more than 20 years. The group is also associated with the music of Louis Andriessen, Steven Mackey and Luciano Berio, performing regularly with Ensemble Modern, Ictus, Ensemble InterContemporain, London Sinfonietta and the Colin Currie Group.

Synergy Vocals is featured on a variety of TV advertisements, pop backing tracks, and film soundtracks including Nanny McPhee, The Chronicles of Narnia, Wrath of the Titans, Harry Potter, Triangle, Severance and Jane Eyre. Four members of the group are featured on the signature tune and soundtrack to ITV’s recent series Home Fires.

Synergy has given concerts all over the world with orchestras and ensembles including the Boston, Chicago, St Louis, New World and San Francisco symphony orchestras; the Los Angeles and New York Philharmonic orchestras; and with Nexus, Steve Reich & Musicians, the Shanghai Symphony Orchestra, the Sydney Symphony Orchestra, the London Symphony Orchestra and all five of the UK’s BBC orchestras. It has also collaborated with dance companies including the Royal Ballet, Rosas and Opéra de Paris.

Recent CD releases include Berio’s Sinfonia with the BBC Symphony Orchestra, James MacMillan’s Since it was the Day of Preparation… with the Hebrides Ensemble, and John Adams’s Grand Pianola Music with the San Francisco Symphony Orchestra conducted by the composer. Other commercial recordings by the group include the 2011 Grammy-winning Dreamhouse by Steven Mackey, De Staat by Louis Andriessen (with London Sinfonietta), Three Tales by Steve Reich (with Steve Reich & Musicians), La Commedia by Louis Andriessen (with Asko|Schönberg), Kompendium’s Beneath the Waves, These New Puritans’ Field of Reeds, Rob Reed’s Sanctuary and Steven Wilson’s Grace for Drowning.

The group’s world premieres include Steve Reich’s Three Tales and Daniel Variations, Steven Mackey’s Dreamhouse, Louis Andriessen’s La Commedia, David Lang’s Writing on Water and James MacMillan’s Since it was the Day of Preparation…, as well as the UK premiere of Nono’s monumental Prometeo at Royal Festival Hall in 2008. As well as live concerts and recordings, the group has undertaken educational and outreach projects in the UK, The Netherlands, the USA (including at Princeton University, Eastman College, Oberlin College and for the Chicago Symphony Orchestra) and South America.

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synergyvocals.com

Micaela Haslam

Sound Intermedia

musical direction

Founder and musical director of Synergy Vocals, Micaela has a wealth of experience as a singer, having been a member of both the BBC Singers and The Swingle Singers. She has sung with many other leading UK vocal ensembles and is equally at home in the studio, recording soundtracks for film and television, or backing vocals for pop CDs. Micaela’s solo repertoire ranges from Michael Torke’s Four Proverbs to Berio’s Sequenza 111 to the soundtrack from the film Blade Runner which she performed with The Heritage Orchestra at the Sydney Opera House. Micaela has sung backing vocals for These New Puritans, Goldie, Anna Calvi, Steven Wilson, Bjork, Henry Priestman, Kompendium and Rob Reed, and for The Heritage Orchestra’s ‘Joy Division Remix’ tour. Having worked closely with Steve Reich for over 20 years, Micaela regularly sings all of his vocal music and coaches both professional and student ensembles in this repertoire – notably in the preparation of Music for 18 Musicians (including in Buenos Aires for the Latin American premiere of the piece at Teatro Colón, with the composer at the piano).

Launched in 1996 by Ian Dearden and David Sheppard, Sound Intermedia revels in the challenge of bringing new work to its audience. Renowned for sophisticated sound designs for live events, they have worked in concert halls and opera houses around the world, collaborating with many of the pre-eminent creators and performers of new music of the last 70 years. Their experience is sought when exceptional events go beyond established paradigms. They have devised and curated installations and performances in museums, art galleries and a myriad of unusual spaces – from Venice Beach in California to Aldeburgh beach in Suffolk; from the tunnels of the London Underground to helicopters over Paris. Looking forward, they plan a visionary live project to revisit outstanding works of electronic music from the past and perform them with technology specially built to sound and feel like the original. Their aim is to motivate and influence musicians, technicians and composers through authoritative performance and to pass on their ingenuity to the next generation, better to serve the music of the future. soundintermedia.co.uk

Micaela is a regular member of the BBC’s Proms Inspire team, working with young musicians starting out in composition. She also enjoys collaborating with professional composers writing for combined ensembles of instruments and amplified voices, in an effort to widen the repertoire in this field. Her latest venture is a workshop called ‘I Got Rhythm’ to help singers perfect their rhythm skills (especially in ensemble) alongside their vocal development. As well as her work as a coach, Micaela has adjudicated choral competitions including the Grand Final of Sainsbury’s Choir of the Year for BBC television.

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Programme notes

Speedread In 1970, just down the road from Royal Festival Hall towards Elephant and Castle, a filmmaker captured the sound of a homeless man singing a short, hymn-like song to himself. That sound recording became the basis of the best-known work by British composer Gavin Bryars, who underlined the touching combination of vulnerability and hope in the vagrant’s song by laying a chamber orchestra underneath it in support. It wasn’t the first time Bryars had used a piece of existing music as a frame within which he could pursue his own reflective agenda. In The Sinking of the Titanic from a few years earlier, Bryars scored one of the hymns supposedly played by the stricken ship’s dance band, overlaying it with an electroacoustic soundscape that uses fragments of musical and

Gavin Bryars

documentary sounds including the voices of Titanic survivors. Like the ‘post-minimalist’ Bryars, one of the founders of musical minimalism, Steve Reich, also started out experimenting with taped human voices. But Reich soon cultivated a style based on simple, unaltered means – music in which rhythm, harmony, volume and instrumentation remained consistent, inviting a different sort of listening from his audience. Reich’s belief that musical process should be easily discernable by the listener soon took a back seat to his exploration of richer soundscapes and more varied colours, but still within the fertile confines of the minimalist aesthetic. Music for 18 Musicians – perhaps Reich’s masterpiece – was his most obvious attempt to do just that.

The Sinking of the Titanic (1969–72)

born 1943

As a student in Sheffield in the 1960s, Gavin Bryars would be immersed in the study of philosophy during the day before lugging his double bass to working men’s clubs to play in the evenings. In that meeting of ‘high’ and ‘low’ is reflected both Bryars’s fundamental musical outlook and the spirit of the two works we hear tonight. Bryars is one of the most distinctive British composers at work today, a post-minimalist avant-gardist yet an artist whose music can’t really be spoken of in terms of ‘isms’. He worked with American mavericks John Cage and Morton Feldman, spent time as a jazz bassist and free-improviser and started to formally compose in

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the late 1960s. He has since written five operas, seven instrumental concertos, numerous choral and ensemble pieces and hours of music for film and dance. Though many of Bryars’s works are aesthetically very different, in a good number of them we hear the subtle hallmarks of his musical style: use of undulating arpeggios (a chord separated out into its individual notes) and gently shifting harmonies ‘that seem to obey their own ineluctable yet inscrutable logic while generating seemingly endless, often restless melodic lines and shapes’, according to the musicologist Pwyll ap Siôn.

In the 1970s Bryars was a member of the performanceart collective the Portsmouth Sinfonia, an assembly of artists and musicians who played on instruments that were, in effect, unfamiliar to them. One of the Sinfonia’s clarinettists was the composer and record producer Brian Eno. Eno went on to found his own record label Obscure, which in 1975 released a recording of two pieces by Bryars: The Sinking of the Titanic and Jesus’ Blood Never Failed Me Yet, both composed earlier that decade. They became Bryars’s most iconic and popular works and remain so today. The Sinking of the Titanic was first performed here at Southbank Centre in 1972. It is ‘based wholly on the circumstances surrounding that event [the sinking of the liner Titanic in 1912] and the equation of facts that emanate from it, in one direction or another’, writes Bryars in his own introduction to the piece. The score is indeterminate, so no two performances are the same. It consists of a freely manipulated electroacoustic soundscape (fragments of musical and documentary sound including the voices of Titanic survivors) sat on top of Bryars’s musical chassis: the hymn reportedly played by the ship’s dance band as she went down.

But there is conjecture about what, exactly, that hymn was. Was it the Episcopal hymn Autumn, according to the testimony of Titanic’s junior wireless operator Harold Bride? Or had reporters misheard Bride’s pronunciation of ‘Aughton’, a setting of the hymn text He Leadeth Me? Though the Episcopal hymn becomes the basic element of Bryars’s music, other hymn tunes drift in as well. All the sound materials come from sources associated with the disaster and as the years have progressed, they have been added to and changed – not least following the discovery of the wreck in 1985 and its changing condition. Bryars was also concerned with the acoustic properties of water. The music of the band, says Bryars, ‘is preserved to some extent in a less vulnerable state in the ship itself … The music, thus, descends with the ship as well as dissipating laterally.’ We hear the music drift underwater and, perhaps, rise again – a suggestion that the wreck might not lie on the floor of the Atlantic forever.

Gavin Bryars

Jesus’ Blood Never Failed Me Yet (1972–74)

Like The Sinking of the Titanic, Jesus’ Blood Never Failed Me Yet, scored in 1974, makes use of existing musical material, taking a conceptual framework and exploring the tensions that can arise when music pursues its own creative agenda within that framework.

included passages ‘where tramps would suddenly break into song, sometimes slightly pathetic sentimental songs, sometimes operatic excerpts.’ One discovery was of a man somewhere between Waterloo and Elephant singing a short, folk-like hymn: ‘Jesus’ Blood Never Failed Me Yet’. The man who sang this song stayed in tune with himself, also sang in tune with Bryars’s piano (and therefore, modern concert tuning). Bryars saw that he could easily augment the recording.

In 1970, Bryars’s friend Alan Power made a documentary film about homeless people around Euston, Waterloo and Elephant and Castle in London. Power gave Bryars free use of the sound recordings that were unused in his film, some of which, according to the composer,

Continued overleaf

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Programme notes continued

He made a tape loop of the homeless man’s song, ‘wrote out a simple chordal accompaniment at the piano’, and then arranged that accompaniment for chamber orchestra. The resulting piece was originally used to accompany a film by Steve Dwoskin in which an old man walked slowly towards a camera. But the music eventually took on a life of its own, Bryars publishing a definitive score in 1974 ‘in which reasonable substitution may be made for various instruments and groups.’ Thus, as in Titanic, the work has the potential to change and evolve, despite the man’s unchanging song.

The musical process is as simple as Bryars’s description of it. First we hear the man’s song on the tape loop, almost whisperingly quiet before it reaches full voice. Then, group by group, instruments are added slowly and sympathetically (in this performance a string quintet, followed by pizzicato low strings, woodwind, brass, vibraphone and piano, horns, untuned percussion and tubular bells). ‘Eventually all the instruments are playing and the piece fades away and finishes’, writes Bryars. He asks that the instrumentalists perform ‘in a restrained way without pomp or show.’ All the better for underlining the sense of loss, hope, vulnerability and contentedness that characterise the man’s simple song.

Interval – 20 minutes An announcement will be made five minutes before the end of the interval.

Steve Reich

Music for 18 Musicians (1974–76)

born 1936

Pulses Section I Section II Section III A Section III B Section IV Section V Section VI Section VII Section VIII Section IX Section X Section XI Pulses

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Gavin Bryars is often described as a post-minimalist composer, ‘minimalist’ referring to a musical style that took root in American in the 1950s. Musical ‘minimalists’ (as they came to be known) were interested in reduction: creating works from a minimum of materials and generally keeping the constituent parts (rhythm, harmony, volume, instrumentation) fixed. Instead of writing goal-oriented music that worked itself up towards breakthrough or triumph, the minimalists were interested in repetition, stasis, and the new ways of listening that those sounds invited. With his fellow Americans La Monte Young, Terry Riley and Philip Glass, Steve Reich is recognised as one of the founding fathers of minimalism. Reich first set out his creative stall in an essay titled Music as a Gradual Process, in which he proposed that in any piece the

musical process should be recognisable to the listener. In simple terms, this meant music that would unfold slowly and systematically. Reich’s initial systematic experiments focused on the idea of ‘phasing’ – a re-thinking of the Baroque canon technique in which the same musical material is presented by two or more musicians slightly out of sync with one another. After learning African drumming techniques in Ghana, in 1971 Reich wrote a landmark piece titled Drumming, a large ensemble work whose rich upholstery of contrasting percussion instruments suggested Reich was heading in a less austere direction than some of his colleagues. The biggest fruit of Reich’s late 1970s move to richer sonorities was also, probably, his greatest work, Music for 18 Musicians. With this piece, Reich relaxed – or rather, expanded – his musical ideals. ‘I am not as concerned that one hears how the music is made as I was in the past’, he commented after the piece was first performed at New York Town Hall in April 1976; ‘What I was really concerned with in Music for 18 Musicians was making beautiful music above everything else.’ But he added that although his music was getting richer, it wasn’t abandoning its sure sense of structure. Structurally, in fact, Music for 18 Musicians is both tight and clear. Bookending the piece is a series of eleven pulsating chords, ‘rising and falling in volume like the ebb and flow of waves on the shore’ in the words of the American critic K Robert Schwarz. Following the initial introduction of those chords, the ensemble takes each one in turn, placing a tapestry of melodic patterns above it, some including the phasing techniques Reich had already explored extensively. Each change to a new chord (and a new tapestry above) is heralded by the bright, chiming sounds of the metallophone – a ‘signalling’ technique that came from Balinese gamelan playing. Eventually, after almost an hour, the eleven chords are stated again, now forming an epilogue.

also allowed himself a far freer harmonic rein with his eleven-chord structure; ‘There is more harmonic movement in the first five minutes of Music for 18 Musicians than in any other complete work of mine to date’, he said in 1978. The structure, harmonic reach and instrumental clothing might have been new, but Reich’s unceasing pulse and rhythmic dynamism remained. In performance, the effect is almost that of a communal ritual, which requires intense concentration from the performers. But for all the music’s sense of introspection, it proved far from alienating for audiences. Four years after the first performance of the piece, Reich – once a New York taxi driver – became the first living American composer in many decades to sell out a performance of his own music at Carnegie Hall. Programme notes © Andrew Mellor

Recommended recordings Many of our recommended recordings, where available, are on sale this evening at the Foyles stand in the Royal Festival Hall foyer. Gavin Bryars: The Sinking Of The Titanic/ Jesus’ Blood Never Failed Me Yet Eva Hart | John Nash | Sandra Hill | Angela Bryars (Virgin Records) Steve Reich: Music for 18 Musicians Bradley Lubman | Ensemble Modern (RCA Red Seal)

The most noticeable shift in Reich’s methods is in Music for 18 Musicians’s scoring: a rich ensemble of tuned and untuned percussion with added strings, woodwind, pianos and wordless human voices. That meant he could explore a far wider range of colours and gently differentiate between textures along the way. But Reich London Philharmonic Orchestra | 13

Next concerts at Southbank Centre’s Royal Festival Hall wednesday 22 March 2017 7.30pm Magnus Lindberg Cello Concerto No. 2 (UK premiere) Bruckner Symphony No. 9 Jukka-Pekka Saraste conductor Anssi Karttunen cello

saturday 25 March 2017 7.30pm R Strauss Death and Transfiguration Mozart Requiem (Süssmayer completion) Nathalie Stutzmann conductor Kateryna Kasper soprano Sara Mingardo contralto Robin Tritschler tenor Leon Košavić baritone London Philharmonic Choir

saturday 8 April 2017 7.30pm SOLD OUT: returns only Tallis Spem in Alium Mahler Symphony No. 8 Vladimir Jurowski conductor Melanie Diener soprano Anne Schwanewilms soprano Sofia Fomina soprano* Sarah Connolly mezzo-soprano Patricia Bardon mezzo-soprano* Torsten Kerl tenor Matthias Goerne baritone Matthew Rose bass* London Philharmonic Choir Tiffin Boys’ Choir London Symphony Chorus Choir of Clare College, Cambridge *Please note changes of artists to originally advertised. Concert supported by an anonymous donor.

Book now lpo.org.uk 020 7840 4242

Latest release on the LPO Label: Dvořák Dvořák Othello Overture, Op. 93 Symphony No. 6 in D, Op. 60 Symphony No. 7 in D minor, Op. 70 Yannick Nézet-Séguin conductor London Philharmonic Orchestra

‘Nézet-Séguin drew a ripe string sound from the LPO and unleashed fearsome brass playing in the score’s violent denouement.’ Bachtrack, February 2016

LPO-0095 | £10.99 (2 CDs)

Available from lpo.org.uk/recordings, the LPO Ticket Office (020 7840 4242) and all good CD outlets Download or stream online via iTunes, Spotify, Amazon and others

LPO CD Subscription Packages Treat yourself or someone you know to a subscription to the London Philharmonic Orchestra's CD releases and receive all the new releases on the LPO label for a whole year, mailed before the CDs are available in the shops. The perfect gift for a music lover! Available online at lpo.org.uk/recordings or from the LPO Ticket Office (020 7840 4242)

One-year CD subscription: £79.99 10 CDs (worth at least £100) Exclusive pre-release mailing Inclusive of P&P

Half-year CD subscription: £44.99 5 CDs (worth at least £50) Exclusive pre-release mailing Inclusive of P&P

London Philharmonic Orchestra | 15

BE M OV E D 2017/18 Concert Season at Southbank Centre’s Royal Festival Hall

HIGHLIGHTS INCLUDE Belief and Beyond Belief – the continuation of our year-long festival with Southbank Centre exploring what it means to be human in the 21st century

Changing Faces: Stravinsky’s Journey – we explore the life and music of Igor Stravinsky as he reacted to the 20th century’s upheavals and innovations

Soloists including Diana Damrau, Daniil Trifonov, Anne-Sophie Mutter, Patricia Kopatchinskaja, Julia Fischer, Leif Ove Andsnes and Gil Shaham

Book now at lpo.org.uk or call 020 7840 4242 Season discounts of up to 30% available

A Gala performance of Wagner’s Das Rheingold in celebration of Vladimir Jurowski’s 10th season as Principal Conductor

Sound Futures donors

We are grateful to the following donors for their generous contributions to our Sound Futures campaign. Thanks to their support, we successfully raised £1 million by 30 April 2015 which has now been matched pound for pound by Arts Council England through a Catalyst Endowment grant. This has enabled us to create a £2 million endowment fund supporting special artistic projects, creative programming and education work with key venue partners including our Southbank Centre home. Supporters listed below donated £500 or over. For a full list of those who have given to this campaign please visit lpo.org.uk/soundfutures. Masur Circle Arts Council England Dunard Fund Victoria Robey OBE Emmanuel & Barrie Roman The Underwood Trust

The Rothschild Foundation Tom & Phillis Sharpe The Viney Family

Haitink Patrons Mark & Elizabeth Adams Dr Christopher Aldren Mrs Pauline Baumgartner Welser-Möst Circle Lady Jane Berrill William & Alex de Winton Mr Frederick Brittenden John Ireland Charitable Trust David & Yi Yao Buckley The Tsukanov Family Foundation Mr Clive Butler Neil Westreich Gill & Garf Collins Tennstedt Circle Mr John H Cook Valentina & Dmitry Aksenov Mr Alistair Corbett Richard Buxton Bruno de Kegel The Candide Trust Georgy Djaparidze Michael & Elena Kroupeev David Ellen Kirby Laing Foundation Christopher Fraser OBE & Lisa Fraser Mr & Mrs Makharinsky David & Victoria Graham Fuller Alexey & Anastasia Reznikovich Goldman Sachs International Sir Simon Robey Mr Gavin Graham Bianca & Stuart Roden Moya Greene Simon & Vero Turner Mrs Dorothy Hambleton The late Mr K Twyman Tony & Susie Hayes Malcolm Herring Solti Patrons Catherine Høgel & Ben Mardle Ageas Mrs Philip Kan John & Manon Antoniazzi Rehmet Kassim-Lakha de Morixe Gabor Beyer, through BTO Rose & Dudley Leigh Management Consulting AG Lady Roslyn Marion Lyons Jon Claydon Miss Jeanette Martin Mrs Mina Goodman & Miss Duncan Matthews QC Suzanne Goodman Diana & Allan Morgenthau Roddy & April Gow Charitable Trust The Jeniffer & Jonathan Harris Dr Karen Morton Charitable Trust Mr Roger Phillimore Mr James R.D. Korner Ruth Rattenbury Christoph Ladanyi & Dr Sophia The Reed Foundation Ladanyi-Czernin The Rind Foundation Robert Markwick & Kasia Robinski The Maurice Marks Charitable Trust Sir Bernard Rix David Ross & Line Forestier (Canada) Mr Paris Natar

Carolina & Martin Schwab Dr Brian Smith Lady Valerie Solti Mr & Mrs G Stein Dr Peter Stephenson Miss Anne Stoddart TFS Loans Limited Marina Vaizey Jenny Watson Guy & Utti Whittaker Pritchard Donors Ralph & Elizabeth Aldwinckle Mrs Arlene Beare Mr Patrick & Mrs Joan Benner Mr Conrad Blakey Dr Anthony Buckland Paul Collins Alastair Crawford Mr Derek B. Gray Mr Roger Greenwood The HA.SH Foundation Darren & Jennifer Holmes Honeymead Arts Trust Mr Geoffrey Kirkham Drs Frank & Gek Lim Peter Mace Mr & Mrs David Malpas Dr David McGibney Michael & Patricia McLaren-Turner Mr & Mrs Andrew Neill Mr Christopher Queree The Rosalyn & Nicholas Springer Charitable Trust Timothy Walker AM Christopher Williams Peter Wilson Smith Mr Anthony Yolland and all other donors who wish to remain anonymous

London Philharmonic Orchestra | 17

Thank you

We are extremely grateful to all donors who have given generously to the LPO over the past year. Your generosity helps maintain the breadth and depth of the LPO’s activities, as well as supporting the Orchestra both on and off the concert platform.

Artistic Director’s Circle An anonymous donor Victoria Robey OBE

Eric Tomsett Laurence Watt Michael & Ruth West

Orchestra Circle Natalia Semenova & Dimitri Gourji The Tsukanov Family

Silver Patrons Mrs Molly Borthwick Peter & Fiona Espenhahn Mrs Irina Gofman David Goldstone CBE LLB FRICS Rehmet Kassim-Lakha de Morixe John & Angela Kessler Vadim & Natalia Levin Mrs Elena Lileeva & Dr Adrian Pabst The Metherell Family Mr Brian Smith The Viney Family Guy & Utti Whittaker

Principal Associates An anonymous donor Mr Peter Cullum CBE Alexander & Elena Djaparidze Dr Catherine Høgel & Ben Mardle Mr & Mrs Philip Kan Sergey Sarkisov & Rusiko Makhashvili Neil Westreich Associates Oleg & Natalya Pukhov Sir Simon Robey Stuart & Bianca Roden Barry Grimaldi William & Alex de Winton Gold Patrons An anonymous donor Mrs Evzen Balko David & Yi Buckley Garf & Gill Collins Andrew Davenport Georgy Djaparidze Sonja Drexler Mrs Gillian Fane Hamish & Sophie Forsyth Drs Oliver & Asha Foster Simon & Meg Freakley David & Victoria Graham Fuller Wim & Jackie Hautekiet-Clare The Jeniffer & Jonathan Harris Charitable Trust Alexandra Jupin & John Bean James R D Korner Mr & Mrs Makharinsky Geoff & Meg Mann Caroline, Jamie & Zander Sharp Julian & Gill Simmonds Virginia Slaymaker

Bronze Patrons An anonymous donor Valentina & Dmitry Aksenov Dr Christopher Aldren Michael Allen Mr Jeremy Bull Desmond & Ruth Cecil Mr John H Cook Bruno De Kegel David Ellen Mrs Marie-Laure Favre-Gilly de Varennes de Bueil Igor & Lyuba Galkin Mr Daniel Goldstein Mr Gavin Graham Mrs Dorothy Hambleton Mr Martin Hattrell Mr Colm Kelleher Rose & Dudley Leigh Drs Frank & Gek Lim Mrs Angela Lynch Peter MacDonald Eggers William & Catherine MacDougall Mr & Mrs David Malpas Mr Adrian Mee Mrs Elizabeth Meshkvicheva Mrs Rosemarie Pardington Ms Olga Pavlova Mr Michael Posen Mrs Karmen Pretel-Martines Dr Eva Lotta & Mr Thierry Sciard

18 | London Philharmonic Orchestra

Tom & Phillis Sharpe Mr & Mrs G Stein Sergei & Elena Sudakova Captain Mark Edward Tennant Ms Sharon Thomas Mr & Mrs John C Tucker Mr & Mrs John & Susi Underwood Grenville & Krysia Williams Christopher Williams Mr Anthony Yolland Principal Supporters Ralph & Elizabeth Aldwinckle Roger & Clare Barron Mr Geoffrey Bateman Mrs A Beare Mr Charles Bott Mr Graham Brady Mr Gary Brass Mr Richard Brass Mr Frederick Brittenden David & Patricia Buck Dr Anthony Buckland Sir Terry Burns GCB Mr Alan C Butler Richard Buxton Mr Pascal Cagni Mrs Alan Carrington Dr Archibald E Carter The Countess June Chichester Mr & Mrs Stewart Cohen Mr Alistair Corbett Mr Alfons Cortés Mr David Edwards Ulrike & Benno Engelmann Mr Timothy Fancourt QC Mr Richard Fernyhough Mr Derek B Gray Mr Roger Greenwood Mr Chris Grigg Malcolm Herring Amanda Hill & Daniel Heaf J Douglas Home Ivan Hurry Mr Glenn Hurstfield Mr Peter Jenkins Per Jonsson Mr Frank Krikhaar Mr Gerald Levin

Wg. Cdr. & Mrs M T Liddiard OBE JP RAF Paul & Brigitta Lock Mr John Long Mr Nicholas Lyons Mr Peter Mace Robert Markwick & Kasia Robinski Elena Mezentseva Andrew T Mills Randall & Maria Moore Dr Karen Morton Mr & Mrs Andrew Neill Maestro Yannick Nézet-Séguin Pavel & Elena Novoselov Dr Wiebke Pekrull Mr Roger Phillimore Mr James Pickford Andrew & Sarah Poppleton Oleg Pukhov Miss Tatiana Pyatigorskaya Mr Robert Ross Martin & Cheryl Southgate Mr Christopher Stewart Peter Tausig Mr Jonathan Townley Andrew & Roanna Tusa Marina Vaizey Howard & Sheelagh Watson Des & Maggie Whitelock Bill Yoe Supporters Mr Clifford Brown Miss Siobhan Cervin Miss Lynn Chapman Mr Joshua Coger Mr Geoffrey A Collens Timothy Colyer Miss Tessa Cowie Lady Jane Cuckney OBE Ms Holly Dunlap Mr Nigel Dyer Ms Susanne Feldthusen Mrs Janet Flynn Mr Nick Garland Dr Geoffrey Guy The Jackman Family Mrs Svetlana Kashinskaya Niels Kroninger

Mr Christopher Langridge Alison Clarke & Leo Pilkington Miss S M Longson Mr David Macfarlane Mr John Meloy Miss Lucyna Mozyrko Mr Leonid Ogarev Mr Stephen Olton Mr David Peters Mr Ivan Powell Mr & Mrs Graham & Jean Pugh Mr Christopher Queree Mr James A Reece Mr Olivier Rosenfeld Mr David Russell Mr Kenneth Shaw Mr Kevin Shaw Mr Barry Smith Ms Natalie Spraggon James & Virginia Turnball Michael & Katie Urmston Timothy Walker AM Mr Berent Wallendahl Edward & Catherine Williams Mr C D Yates Hon. Benefactor Elliott Bernerd Hon. Life Members Kenneth Goode Carol Colburn Grigor CBE Pehr G Gyllenhammar Robert Hill Mrs Jackie Rosenfeld OBE We are grateful to the Board of the American Friends of the London Philharmonic Orchestra, who assist with fundraising for our activities in the United States of America: Jenny Ireland Co-Chairman William A. Kerr Co-Chairman Xenia Hanusiak Alexandra Jupin Kristina McPhee David Oxenstierna Natalie Pray

Antonia Romeo Hon. Chairman Noel Kilkenny Hon. Director Victoria Robey OBE Hon. Director Richard Gee, Esq Of Counsel Jenifer L. Keiser, CPA, EisnerAmper LLP Stephanie Yoshida Corporate Donors Fenchurch Advisory Partners LLP Goldman Sachs Linklaters London Stock Exchange Group Morgan Lewis Phillips Auction House Pictet Bank Corporate Members Gold Sunshine Silver Accenture After Digital Berenberg Carter-Ruck French Chamber of Commerce Bronze Ageas BTO Management Consulting AG Charles Russell Speechlys Lazard Russo-British Chamber of Commerce Willis Towers Watson Preferred Partners Corinthia Hotel London Heineken Lindt & Sprüngli Ltd London Orthopaedic Clinic Sipsmith Steinway Villa Maria In-kind Sponsor Google Inc

Trusts and Foundations Axis Foundation The Bernarr Rainbow Trust The Boltini Trust Borletti-Buitoni Trust Boshier-Hinton Foundation The Candide Trust Cockayne – Grants for the Arts The Ernest Cook Trust Diaphonique, Franco-British Fund for contemporary music The D’Oyly Carte Charitable Trust Dunard Fund The Equitable Charitable Trust The Foyle Foundation The Goldsmiths’ Company Lucille Graham Trust Help Musicians UK Derek Hill Foundation John Horniman’s Children’s Trust The Idlewild Trust Kirby Laing Foundation The Leverhulme Trust The London Community Foundation London Stock Exchange Group Foundation Lord and Lady Lurgan Trust Marsh Christian Trust The Mercers’ Company Adam Mickiewicz Institute The Stanley Picker Trust The Radcliffe Trust Rivers Foundation The R K Charitable Trust RVW Trust The Sampimon Trust Schroder Charity Trust Serge Rachmaninoff Foundation The David Solomons Charitable Trust Souter Charitable Trust Spears-Stutz Charitable Trust The John Thaw Foundation The Michael Tippett Musical Foundation UK Friends of the FelixMendelssohn-BartholdyFoundation

Garfield Weston Foundation The Barbara Whatmore Charitable Trust and all others who wish to remain anonymous.

London Philharmonic Orchestra | 19

Administration

Board of Directors Victoria Robey OBE Chairman Stewart McIlwham* President Gareth Newman* Vice-President Roger Barron Richard Brass Desmond Cecil CMG Bruno de Kegel Dr Catherine C. Høgel Rachel Masters* Al MacCuish Julian Metherell George Peniston* Kevin Rundell* Natasha Tsukanova Mark Vines* Timothy Walker AM Neil Westreich David Whitehouse* * Player-Director

Chief Executive

Education and Community

Public Relations

Timothy Walker AM Chief Executive and Artistic Director

Isabella Kernot Education Director

Albion Media (Tel: 020 3077 4930)

Talia Lash Education and Community Project Manager